The film was entered into the 1995 Cannes Film Festival.[1]San Francisco Chronicle film critic Edward Guthmann said the film was poorly received when it premiered at Cannes, but called it "gorgeous" and "one of the year's most beautiful films." He said it was a rewarding film that requires a little faith from the viewer due to long, slow, "lingering shots that work as a kind of meditation." He described the revival meeting at night "like an Edward Hopper or Thomas Hart Benton painting come to life."[2] Judd Blaise of Allmovie gave the film 2½ out of 5 stars and said "Some viewers will likely be frustrated by the slow pace and elliptical style, though others may be transfixed by the often stunning photography and poetic approach."[3]The New York Times film critic Stephen Holden said one of the problems with the film was that it "may have succumbed to its own dreamy esthetic" by focusing on the same image too often, and that the end of the film "loses its balance."[4]
Stephen Brophy, a staff reporter for The Tech, said "Terence Davies' latest film looks as ravishing as Distant Voices, Still Lives, or The Long Day Closes... If it weren't for the absurdity of the climax and its lack of relevance to all that has gone before, The Neon Bible could be highly recommended. Too bad."[5]San Francisco Examiner critic Barry Walters said the film was "unrelentingly downbeat" and that "it starts off dark and gets darker". He called it "one long crawl into an emotional abyss without catharsis" and said that Davies had created a nightmare.[6]
Jonathan Rosenbaum wrote: "Davies doesn’t offer a cinema of plot or a cinema of ideas, but a cinema of raw feelings and incandescent moments that wash over you like waves. You might find some of these waves boring if you assume that each one has to make a separate point to justify its existence."[7]
In an interview with Time Out Film, Davies said: "The Neon Bible doesn't work, and that's entirely my fault. The only thing I can say is that it's a transition work. And I couldn't have done The House of Mirth without it."[8]
Shown on three screens in the United States, the film grossed $78,072 in its theatrical release.[9]
